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Understanding 9/11Grateful Dead Live at Hampton Coliseum on 1989-10-09
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- Publication date
- 1989-10-09 ( check for other copies)
- Topics
- Ted Carpenter, Andrew F.
- Collection
- GratefulDead
- Band/Artist
- Grateful Dead
- Resource
- DeadLists Project
- Item Size
- 1.3G
Disc One (74:15)
01 crowd & tuning
02 Feel Like a Stranger
03 Built to Last
04 Little Red Rooster
05 Ramble On Rose
06 We Can Run
07 Jackaroe
08 Stuck Inside of Mobile with the Memphis Blues Again
09 Row Jimmy
10 The Music Never Stopped
-- set break --
Disc Two (55:52)
01 crowd & tuning, teddy bear's picnic >
02 Playin' in the Band >
03 Uncle John's Band >
04 Playin' Reprise >
05 Dark Star > Space >
06 Drums >
Disc Three (49:36)
01 Space >
02 Death Don't Have No Mercy >
03 Dear Mr Fantasy > Hey Jude Finale >
04 Throwing Stones >
05 Good Lovin'
-- encore --
06 crowd & tuning
07 Attics of My Life
01 crowd & tuning
02 Feel Like a Stranger
03 Built to Last
04 Little Red Rooster
05 Ramble On Rose
06 We Can Run
07 Jackaroe
08 Stuck Inside of Mobile with the Memphis Blues Again
09 Row Jimmy
10 The Music Never Stopped
-- set break --
Disc Two (55:52)
01 crowd & tuning, teddy bear's picnic >
02 Playin' in the Band >
03 Uncle John's Band >
04 Playin' Reprise >
05 Dark Star > Space >
06 Drums >
Disc Three (49:36)
01 Space >
02 Death Don't Have No Mercy >
03 Dear Mr Fantasy > Hey Jude Finale >
04 Throwing Stones >
05 Good Lovin'
-- encore --
06 crowd & tuning
07 Attics of My Life
Notes
- ShnID-443 patches cover the 2nd set tape-flips, as follows:
- Dark Star 18:28 > 18:32, and Good Lovin' 0:10 > 0:21.
- Second set disc break is seamless.
- Soundforge used to make fades, add patches, and adjust levels.
- TLH used for SBE-OK, FLAC compression, and checksums.
- Addeddate
- 2008-01-20 17:52:04
- Identifier
- gd1989-10-09.nak304.carpenter.89563.sbeok.flac16
- Lineage
- MAC > Nakamichi DR-8 (no Dolby) > Audiophile 2496 analog-in > Soundforge > CD-Wave > TLH > FLAC
- Location
- Hampton, VA
- Run time
- 180
- Taped by
- Ted Carpenter
- Transferred by
- Andrew F.
- Type
- sound
- Venue
- Hampton Coliseum
- Year
- 1989
comment
Reviews
(10)
Reviewer:
blackpanther5
-
favoritefavoritefavoritefavoritefavorite -
April 5, 2017
Subject: The sound guys
Subject: The sound guys
Those who underrate this show (yes I was there) underestimate how perfectly the sound guys were, knowing the Coliseum. And no, no recording can give
...
that justice. Grateful...for my own reasons, haven't listened to a replay in 25 years.
Reviewer:
KarlMattson
-
favoritefavoritefavoritefavoritefavorite -
August 26, 2015
Subject: Nothing like it...
Subject: Nothing like it...
I will never forget how this show felt. I remember a Sunday morning, working at a Williamsburg restaurant called the Trellis. Lots of deadheads on staff.
...
Martha comes in through the kitchen talking about how the Warlocks were coming and that they were selling tix at the Hampton Coliseum in 2 hours. I got tickets for both nights, psyched to be able to see my favorite band so close to home. (I had missed two previous opportunities to see the Dead at Hampton.) At this point I was seeing shows regularly up and down the east coast and as far midwest as Alpine Valley.
I would argue against those who don't think the first night was amazing. It was. The Help/Slipknot remains my favorite version.
But the second night? Holy shit. The crowd vibe was super high energy and positive. The place was humming. And when Jerry broke out the first bars of 'Dark Star' it felt like the roof was going to blow out. Even today, thinking about the opening to Dark Star and the crowd response sends chills up and down my spine. And, when the last note was played and the house lights came up everyone stood still looking around at each other as if to say, "Did we really hear that?" All in all the Warlocks shows remain a great example of how crowd response drives improv to new directions and greater heights.
I would argue against those who don't think the first night was amazing. It was. The Help/Slipknot remains my favorite version.
But the second night? Holy shit. The crowd vibe was super high energy and positive. The place was humming. And when Jerry broke out the first bars of 'Dark Star' it felt like the roof was going to blow out. Even today, thinking about the opening to Dark Star and the crowd response sends chills up and down my spine. And, when the last note was played and the house lights came up everyone stood still looking around at each other as if to say, "Did we really hear that?" All in all the Warlocks shows remain a great example of how crowd response drives improv to new directions and greater heights.
Reviewer:
Ozriq
-
favoritefavoritefavoritefavorite -
July 28, 2010
Subject: Well Said!
Subject: Well Said!
They also were billed as the Warlocks both nights! Fantastic shows!
Reviewer:
sakanaband
-
favoritefavoritefavoritefavoritefavorite -
July 28, 2010
Subject: Best Aud recording of this night
Subject: Best Aud recording of this night
I saw the Dead 86 times and this was my clear favorite. By far. This has been reviewed so much that I’ll try to cover the scraps of ground not already
...
covered on this deservedly legendary show. This concert and the night before may stand as a unique moment in the Dead's career as an example of a stylistic breakthrough that catapulted them to new stratospheric heights and wild new directions. Garcia had been quoted in interviews throughout the 80's about Dark Star no longer being part of their repertoire. He stated, in essence, that "we have just played it out" meaning there was no new territory to cover. So what happened to change his/their mind?
The previous night in Hampton saw the band fully integrate MIDI technology into their show where it had been “beta-tested” in Drums/Space for nearly a year or longer. I did not attend the October 8th show, but they were using MIDI in Candyman, Birdsong and Slipknot to name a few standouts. This is also an excellent show that often gets overshadowed due to the other-worldly proceedings the next night.
The first set of this show is pretty fantastic. The band sounded like I had never heard them before. I was stunned at all of the strange new sounds from Bobby, Brent and especially Garcia where he was producing a tone and effects that he had never used before. Even the drum equipment had new additions that hinted at mysteries untold. Things were really different in Stranger, the solo in Built to Last, the solo in Ramble on Rose and even sections of Row Jimmy. The crowd was buzzing during the break and as I was above the taper’s section the band’s highly evolved new instrumental and overall concert sound was the topic of most conversations.
Lights go down, Playin starts and not just 20 seconds after the “jump-off” point at about 2:55 Garcia busts a tone that had jaws gaping. The tone alone gets a cheer from the crowd. What follows is arguably the most interesting and exciting Playin’ jam since the epic ’72-’74 versions. This is truly “another level” type of mind-think improvisation that we always knew the band was capable of playing, but rarely attempted much less achieved. The segue into Uncle John’s was almost a surprise after touring the outer edges of the universe. This version is really powerful and confident if not precisely perfect (when is it ever?). Back into Playin’ with more digi-weirdness, a pregnant pause and then the famous tetrad of notes that every true Deadhead knows and adores. This was really weird to behold in person. The beginning of Dark Star caused this exceptionally odd sort of hesitancy in the crowd. Nobody could believe their ears/mind. It took until Garcia sang “Dark Star crashes” until we all could truly get over our disbelief and be sure it wasn’t some kind of tease or cosmic bad joke or that we had gone mad. The end of the first verse before the band launches into the “floating part” was sustained ecstasy. The jam in Dark Star is wicked, dark, intense, revelatory, etc. MIDI opened these guys up to tackling their old workhorse once again. Wow. Drums were extraordinary since Billy and Mickey were well aware of the history taking place and the crowd was just in silenced awe.
The Death Don’t Have No Mercy is my favorite version of this song. The round-house verses, the cohesive and musically brilliant instrumental jams and the emotion in its execution is another comparable highlight to what had just ensued. The rest of the second set naturally pales in comparison and was frankly hard to digest at the time that night. This is interesting since the versions here are quite superb and at any other concert would have likely been considered the highlight of the night. The Dead had one more trick up its sleeve with Attics as the encore. This, in the old days, had been difficult for me to listen to on tape since the vocals were, um, poor. That made this arguably more impressive breakout that much sweeter. This is a knock-out version and it was obvious from the killer vocals that the band had recently been in the studio and that there monitor sound on stage must have been perfect. This for me was the ultimate instance of the “last sweet kiss goodnight” effect that the Dead rule over in music history with their encores. I have the chills as I write this remembering that the sound and band and audience seemed to be embracing my soul.
Something happened after the band walked off the stage that I have never seen before at any of the over 1000 concerts (total of all bands, not just GD) I’ve attended in my life. The house lights came up, the crowd stood standing and stunned. Nobody moved. Then from a few claps the place erupted with vicious applause and screams of pleasure. I was not the only one that had tears of joy and disbelief in my eyes leaving the Coliseum that night.
This is the best audience recording of this show I’ve ever heard. It blows away the soundboard since this is a show that requires you to at least have a matrix recording to hear the chill-inducing crowd response. I still thing about Jerry every day. Guess I still miss that old guy.
This is a bellwether show, definitely five stars, and arguably the best show the band played going back a decade or more. In my humble opinion, of course.
The previous night in Hampton saw the band fully integrate MIDI technology into their show where it had been “beta-tested” in Drums/Space for nearly a year or longer. I did not attend the October 8th show, but they were using MIDI in Candyman, Birdsong and Slipknot to name a few standouts. This is also an excellent show that often gets overshadowed due to the other-worldly proceedings the next night.
The first set of this show is pretty fantastic. The band sounded like I had never heard them before. I was stunned at all of the strange new sounds from Bobby, Brent and especially Garcia where he was producing a tone and effects that he had never used before. Even the drum equipment had new additions that hinted at mysteries untold. Things were really different in Stranger, the solo in Built to Last, the solo in Ramble on Rose and even sections of Row Jimmy. The crowd was buzzing during the break and as I was above the taper’s section the band’s highly evolved new instrumental and overall concert sound was the topic of most conversations.
Lights go down, Playin starts and not just 20 seconds after the “jump-off” point at about 2:55 Garcia busts a tone that had jaws gaping. The tone alone gets a cheer from the crowd. What follows is arguably the most interesting and exciting Playin’ jam since the epic ’72-’74 versions. This is truly “another level” type of mind-think improvisation that we always knew the band was capable of playing, but rarely attempted much less achieved. The segue into Uncle John’s was almost a surprise after touring the outer edges of the universe. This version is really powerful and confident if not precisely perfect (when is it ever?). Back into Playin’ with more digi-weirdness, a pregnant pause and then the famous tetrad of notes that every true Deadhead knows and adores. This was really weird to behold in person. The beginning of Dark Star caused this exceptionally odd sort of hesitancy in the crowd. Nobody could believe their ears/mind. It took until Garcia sang “Dark Star crashes” until we all could truly get over our disbelief and be sure it wasn’t some kind of tease or cosmic bad joke or that we had gone mad. The end of the first verse before the band launches into the “floating part” was sustained ecstasy. The jam in Dark Star is wicked, dark, intense, revelatory, etc. MIDI opened these guys up to tackling their old workhorse once again. Wow. Drums were extraordinary since Billy and Mickey were well aware of the history taking place and the crowd was just in silenced awe.
The Death Don’t Have No Mercy is my favorite version of this song. The round-house verses, the cohesive and musically brilliant instrumental jams and the emotion in its execution is another comparable highlight to what had just ensued. The rest of the second set naturally pales in comparison and was frankly hard to digest at the time that night. This is interesting since the versions here are quite superb and at any other concert would have likely been considered the highlight of the night. The Dead had one more trick up its sleeve with Attics as the encore. This, in the old days, had been difficult for me to listen to on tape since the vocals were, um, poor. That made this arguably more impressive breakout that much sweeter. This is a knock-out version and it was obvious from the killer vocals that the band had recently been in the studio and that there monitor sound on stage must have been perfect. This for me was the ultimate instance of the “last sweet kiss goodnight” effect that the Dead rule over in music history with their encores. I have the chills as I write this remembering that the sound and band and audience seemed to be embracing my soul.
Something happened after the band walked off the stage that I have never seen before at any of the over 1000 concerts (total of all bands, not just GD) I’ve attended in my life. The house lights came up, the crowd stood standing and stunned. Nobody moved. Then from a few claps the place erupted with vicious applause and screams of pleasure. I was not the only one that had tears of joy and disbelief in my eyes leaving the Coliseum that night.
This is the best audience recording of this show I’ve ever heard. It blows away the soundboard since this is a show that requires you to at least have a matrix recording to hear the chill-inducing crowd response. I still thing about Jerry every day. Guess I still miss that old guy.
This is a bellwether show, definitely five stars, and arguably the best show the band played going back a decade or more. In my humble opinion, of course.
Reviewer:
Oregon Green
-
favoritefavoritefavoritefavoritefavorite -
March 4, 2010
Subject: Heads! Down load NOW!
Subject: Heads! Down load NOW!
This is it. The big one. Dark Star, and how sweet it sounds. Tease after tease this whole tour and then, like light from above, BAM! Jerry drops the bomb
...
and the whole place just went nuts. This is essential Dead here people. Over one hundred shows during the day, got on the bus during this tour, and life has never been the same. If you only download one show from 89, this is the ONE. Take care all.
Reviewer:
woodroce
-
favoritefavoritefavoritefavoritefavorite -
September 5, 2008
Subject: Great Show.
Subject: Great Show.
I loved listening to this show! The band all seem pretty sharp and spunky this evening, for sure! The audience definitely let the band know of their
...
approval right at the first three notes of Dark Star. The band "played them back" with a great version.
I am not a big fan of drumz & space (unless I am THERE, in the audience) so I skimmed through them.
Brent... Man, I miss that guy.
I think this whole show is incredible. I wish I was there! I recommend this show.
I am not a big fan of drumz & space (unless I am THERE, in the audience) so I skimmed through them.
Brent... Man, I miss that guy.
I think this whole show is incredible. I wish I was there! I recommend this show.
Reviewer:
ezphart
-
favoritefavoritefavoritefavoritefavorite -
August 16, 2008
Subject: dark Star
Subject: dark Star
this was the best show that i saw
the place went nuts for the dark star then for the encore attics wow
the place went nuts for the dark star then for the encore attics wow
Reviewer:
magicastles
-
favoritefavoritefavoritefavoritefavorite -
May 25, 2008
Subject: Formerly The Warlocks
Subject: Formerly The Warlocks
These shows were legendary!! There had been problems at Hampton the year before, so these shows were not billed as Garteful Dead shows & you had to
...
be out east to get tickets! Then they play Dark Star, Death Have No Mercy & Attics!? I guess you had to be there...You HAVE to have the AUD of this...It feels so good to hear the crowd,..they're just in HEAVEN...nobody could do this type of thing anymore, it just isn't possible...THANK YOU ARCHIVE
Reviewer:
darkstarron
-
favoritefavoritefavoritefavoritefavorite -
February 10, 2008
Subject: One for the ages.
Subject: One for the ages.
A decent show? How droll!!! The first set was decent. The Playin-uncle john-playin was really fine. From Dark Star to Attics, it was one unf---ing-believable
...
night. The last Dark star was 7/84 and the last Attics 9/72 (Thank you Dead Base). For myself and most of those others who were there, definately one of the top ten best shows.
Reviewer:
redroosterr
-
favoritefavoritefavoritefavorite -
January 29, 2008
Subject: give it a listen!
Subject: give it a listen!
pretty desent show actually.
alot of crowd noise it captures the excitment of the evening
i takee every showw for what its worth
enjoy!
alot of crowd noise it captures the excitment of the evening
i takee every showw for what its worth
enjoy!
There are 10 reviews for this item. .
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